Notes and Editorial Reviews
Reviewing Eugene Mursky's Chopin Ballades, I took issue with the pianist's compulsively detailed, overly worked out interpretations. Happily, Mursky approaches the composer's Waltzes in a simpler, more direct, and stylistically sympathetic manner, with no resultant loss of character or individuality. Play the Op. 70 pieces and hear for yourself, especially concerning Mursky's crisp articulation of the G-flat waltz's ornaments. His conservative, well-integrated tempos in the posthumous E minor waltz restore the eloquence that many drag-racing hotshots overlook. The two Op. 69 waltzes also emerge fresh and newly minted: some pianists like to taper and round off the B minor's phrases, in contrast to the intensity Mursky engenders by slightly
pushing the basic pulse ahead at key moments.
In the C-sharp minor waltz's piu mosso section, Mursky hints at the same "inner voice" that Rosenthal, Cortot, Rachmaninov, and other old timers brought out with their respective right thumbs. As an encore, Mursky includes the apparent world-premiere recording of an alternate version of the A-flat Op. 34 No. 1 waltz that dispenses with the familiar coda. While occasional contrivances of accentuation, phrasing, and voice leading occur, they don't stand in the way between the music and the listener. In all, Mursky may not match Tharaud or Rubinstein for charm and élan, yet this is his most compelling CD release to date, with no small help from the Bavarian Radio production team's warm, intimate sonics. [5/9/2007]
--Jed Distler, ClassicsToday.com
Works on This Recording
Etudes (12) for Piano, Op. 10 by Frédéric Chopin
Evgene Mursky (Piano)
Written: 1829-1833; Poland
Length: 2 Minutes 1 Secs.
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